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Considers Shakespeare's medical knowledge.
By analyzing the ambiguous publication of the first folio and Ben Jonson's role, argues that the Stratfordians' use of the First Folio prefatory matter as an evidence of "Shakespeare's Authorship" is unconvincing.
In a consideration of Shakespeare's monument, argues that Stratfordians today's monument may not be original.
Examines Bill Rauch's choice to have two actors, Michael Winters and Jack Willis, play Lear in the 2013 Oregon Shakespeare festival production (q.v.). Contends that while both actors' interpretations affect the performance, they most strongly affect audience's interpretation of Cordelia who is "offered as a post-feminist reading of the part." English and French summaries, 63.
"Compare[s] known postcolonial 'Shakespeares' and Arabic appropriations of his plays." Focuses on adaptations of Merchant of Venice, Othello, Antony and Cleopatra, and Hamlet. English summary, 4.
Explore the actor's body as a site of adaptation. "Demonstrate[s] the inseparability of [Branagh's] Shakespearean persona from his professional identity as a whole," by, for instance, considering reviews of his film Thor. English summary, 29.
Analyzes meter in popular songs from the thirteenth to seventeenth centuries, including the "Willow Song" in Othello. Argues that Shakespeare flouts the rule that spoken stress must match musical stress, suggesting that the stress rules may have been less rigid and that development of such a rule is "phonological rather than . . . metrical." Spanish and English summaries, 81-82.
Analyzes performances in Deborah Warner's 2005 Julius Caesar and Declan Donnellan's 2008 Troilus and Cressida (both q.v.) to show "how both directors make explicit references to the international political context of the 21st century in order to support, highlight, reject, or question several aspects appearing in Shakespearean texts." Spanish and English summaries, 245-46.
Compares Arabic translations of Sonnet 18 to explore to what extent an adaptation should take on or ignore the culture it is being appropriated by. Notes how translators perform either "domestication" (reflecting the adapting culture) or "foreignization" (reflecting the adapted culture), suggesting that both allow for much-needed "cultural diversity." English and French summaries, 458.
Compares the negative initial reception of Sonnets and Richard Barnfield's Affectionate Shepheard, both of which contain homoerotic verse. Argues that these works were not rejected solely on the basis of their subject matter, but because of the authors' choice to use lyric verse rather than narrative or dramatic verse in the expression of the homoerotic.